The New Vision and Abstract of an Artist
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The New Vision and Abstract of an Artist'' by Laszlo Moholy-Nagy. Design and typography by Paul Rand. New York: Wittenborn: 1947. The Documents of Modern Art Number Three, letterpress edition, edited by Robert Motherwell. and visually expresses Moholy-Nagy's Bauhaus modernist vision through art, architecture, sculpture, displays, movie sets, furniture, etc.
no isbn only asin: B000T67Z30
Bauhaus books, and the quarterly, "Bauhaus". Co-founder a nd 1 editor o f the international art review " i 10" (Amsterdam, 1926). 1928— Berlin. Experiments with new materials: galalith, trolit, cellon, rhodoid, 1934 enamel, aluminum, etc. Typographical work. Settings fo r Piscator's theater and fo r the State Opera, Berlin. Abstract movie "Light Display, Black and W hite and G ray" (1930). 1 9 3 5 - London. Exhibitions o f paintings, sculpture, and photographs. Makes "Lob1937 sters", one o f the
space of the picture-plane. This latter led the cubists to a more conscious analysis of their new spatial expression, which became the basis of a new visual orientation. But Picasso exercised not only a pedagogical function. He is also — and first of all — the creator of organic working processes. The form of his picture is dependent equally on the application of materials, and on his tools. Thus, for instance, "La Table" (1910) is a drawing with clearly legible stroke values of pencil on paper.
a "best** side we postulated the idea of the sculpture in the round. The sculpture in the round shows the some quality of a ll sides in a perfection and balance of its shapes, mosses, linear flow, etc.; thus Brancusi placed "the fish" on a mechanically revolving base. The second stage. The modeled (hollowed-out) block: Small and large mass (volume) relationships of salient and sunken, positive and negative, round and angular, sharp and dull (Fig. 21). practical work. Hand sculpture. When the
tendencies to constructivism; also the revolutionary film producer. Viking Eggeling, worked there with his collaborator, Hans Richter. We often met to discuss painting and other problems. Out of these discussions developed the Constructivist Congress of 1922 in Weimar, manifestoes in the Hungarian review MA, of which I was then the Berlin representa tive, and exhibitions, all of which gave us greater assurance in regard to our work and future artistic prospects. (See page 44: Nickel sculpture,
number. As members of society the students must learn to face practical as well as spiritual problems. If, then, by taking in all the practical and spiritual material offered to them during their training, some of them develop into "free" artists, this will be their own personal achievement, of which the Institute will be very proud. But as long as they are students, they must see themselves as designers and craftsmen who will make a living by furnishing the community with new ideas and products.